Bill Evans is frequently available for solo performances and for choreographic and/or teaching residencies with professional or pre-professional modern dance, ballet or tap dance companies or with high school, college or university dance departments.

A RESIDENCY can include:

 ¤ CREATION of a NEW CHEREOGRAPHIC WORK 

  ¤ Or, The STAGING of an EXISTING WORK

   ¤ And a Variety of MASTER CLASSES

    ¤ Or, an INTENSIVE WORKSHOP

     ¤ And/Or one or more LECTURES

Mr. Evans is also available as an AJUDICATOR and CONSULTANT

Critical comments on Bill Evans' choreography and performance:

"Chicago Tap Theatre's loving tribute to 65-year-old modern-rhythmic dance barrier-breaker Bill Evans is an experience of intimate and symphonic proportions".  His breadth of experience in ballet, modern and tap dance has molded Evans into a uniquely lyrical-percussive artist. And while fusion might be an easy buzzword to slap onto his merging of styles, he more accurately melds each discipline into the other so that only movement-with no titles attached-remains. -Lucia Mauro, Chicago Tribune

"Bill Evans is an enduring and influential modern dance mainstay. What a treat to see a master choreographer such as he in the full maturity of his performing career." -Wayne Lee, Washington Times

"Evans knows how to entertain, and he does it in such a distinct and personal way that by evening's end every fan should feel almost like a friend".  "He is quite simply a master of his craft, and if anything he gets better with age. He does it all and it is this kind of versatility that allows him to go it alone for an evening with such success." -Helen Forsberg, Salt Lake Tribune

"One of the best choreographic forces to touch the American Dance scene." -- Walter Terry, Saturday Review

"Evans has a characteristic fluency in his choreography that enables him to work in a variety of moods." -- Anna Kisselgoff, New York Times

"Evans' perception of character is witty, economical and precise." -- Don McDonough, New York Times

"Evans danced with power, grace and masterful control-not to mention the incredible stamina that allowed him to forge through the two and one half hour program with the energy of an entire company." Everett Evans, Houston Chronicle

"It would be naive to believe that the entire history and spirit of a nation could be captured on stage within the limitations of two short dances, yet that is the impression one gets on seeing the Bill Evans Dance Company." -- Julinda Lewis Williams, Dance Magazine

"His dance is very much about movement itself, exploring a full sphere of action rotating around a strongly defined axis. What makes the dances so satisfying to watch is that Evans brings each movement to its logical conclusion, completing the thought before executing a smooth transition to the next idea." -- Kathryn Bernheimer, (Boulder, CO)Sunday Camera

"Danced with absolute magnificence... Evans' wonderful communicative gifts could accomplish anything."  -Byron Belt, Long Island

"His dancers are excellent, fearless technicians and theatrical performers".  The company's rambunctious comic flair and each member's individuality are used to good advantage.  -Linda Small, Dance Magazine

THE WASHINGTON POST
Alan M. Kriegsman, Dance Critic
Will the real Bill Evans please stand? This amazing dancer-choreographer from Utah, currently in residence at George Washington University, seems to have more disguises than Sherlock Holmes, all wondrously credible and diverting.

His solo recital drew an appreciative audience of several hundred to the Marvin Theater Tuesday night. The program consisted of eight highly contrasted dance monologues, all but two choreographed by himself. Evans, a long-time member of Utah's Repertory Dance Theatre, now directs his own troupe in Salt Lake
City and is a frequent guest artist in this country and abroad.

Evans' eclecticism, his penchant for satire, the splendid independence of his limbs and his knife-point shifts of tempo and dynamics all put one in mind of Paul Taylor. But Evans' sleek body lines and way of moving are entirely his own, as is his remarkably deft, resilient technique.

To music ranging from Bach to Glenn Miller to Indian ragas, Evans' choreographic idioms shuttled from poetic abstraction to ironic portraiture to frisky parody to trance-like introspection. As a dancer, he also moved with equal ease from the flippancy of Matt Mattox's "Opus Jazz Loves Bach" to the feverish agitation of an excerpt from Anna Sokolow's "Lyric Suite."  Evans' own inventions seemed smart and fluent, but they left one wondering how he might fare with larger compositional structures. There was no question, though, about the abundance of his talent.
 

SAN DIEGO UNION
Anne Marie Welsh, Arts Critic
Bill Evans has been teaching as a regent's lecturer at UCSD since last week. He has solid reputation as a choreographer and teacher. Of the more than 100 works he has created for ballet and modern companies coast to coast, only three had crossed my path before last night. Those three group pieces had intelligence, wit and good nature to recommend them, though nothing so distinctive they suggested an Evans style. Last night Evans performed two of his own solos at Mandeville Auditorium. As a dancer, he is something special, with a style very much his own. He moves with a sensuous abandon and rhythmic subtlety uncommon among male dancers.

Evans has performed for 20 years, first with ballet, then with modern and finally with his own companies in Seattle and Winnipeg. His own technique looks neither modern, classical, nor some eclectic mix of the two. It's as if he re-thought the whole impulse toward movement for himself and arrived at some rather startling conclusions. Like Isadora Duncan and Erick Hawkins, he seems to center himself in the solar plexus and let the energy move in continuous waves outward. There's nothing sharp, angular or aggressive in his dancing, nothing particularly contemporary, not a drop of salesmanship.
When you watch him, your eyes go not to his handsome face or lovely feet, but to his breastbone, the vulnerable, merely human spot that seems to be guiding him.

His dances were different in character-a tap number that became a character dance, a primal-modern work based on Indian classical dance.  "Pop's Rag," set to Scott Joplin piano rags, was a soft-shoe with taps full of rhythmic invention that never slavishly followed the music's syncopated beat. Evans has the familiar tap steps down cold-time steps, buck'n wings, windmill spins. He dances organically, though, with the nuances of his arms movements, his spiraling torso as interesting as the talking taps. In the end, the number seems a nostalgic tribute from one kind of dancer to those of another age.

"Tin-Tal" was set to music for sarod and tabla by Mahapurush Misra. Here Evans let all his subtle virtuosity show. The work began on the floor, moved broadly through space and closed with a long, spiraling passage in which the hands fleetingly spoke that gestural language of the mudras. Contrasts between large and small-scaled motions, fast and slow, up and down, sustained interest in a piece as minimal as its score. Like a dervish or a prophet, Evans absorbed himself in the spirit of movement without the fakery prevalent in so much pop-primal choreography. Instead of hypnotizing the mind, he deepens its awareness.


"Bill is one of the best teachers in America. He has a fluent, lovely understanding of movement which he conveys very well. He has enormous loyalty and everywhere he goes to teach, people
come flocking." -- Daniel Nagrin, Dance Teacher Now

"The development of Bill's technique has created a truly organic form of contemporary dance. His masterful teach style has touched students for decades. Many of his former company members have gone on to make significant contributions to the art of dance performance, both onstage and through dance education, in studios, colleges and universities." Virginia Wilmerding, President, International Association for Dance Medicine and Science

"Evans has devoted his life to developing his own technique. Students from all over the country flock to Evans to understand his way of moving, which integrates his intensive study of kinesiology and anatomy with training in ballet, jazz, tap and modern. His work... lives and breathes at the literally hundreds of schools, studios, universities, colleges, high schools and companies where Evans has taught, performed and choreographed." -- Susie Eley, Dance Teacher

Lecture topics can be:
"Teaching What I Want to Learn"
First delivered as NDA Scholar/Artist address, annual conference of the National Dance Association, St. Louis, March 1997.
"Technique Is Not Working If It Shows"
First delivered on the occasion of the Bill Evans Dance Company's 25th anniversary, South Broadway Cultural Center, Albuquerque, January 1999.
"Dance - An Activity Of Human Spirit"
First delivered as the keynote address, Great Lakes Region American College Dance Festival, Detroit, March 2000.
"The Multi-Colored Sky"
A call for recognition and validation of personal differences through movement" - First delivered as the keynote address, annual conference of the National Dance Education Organization, Salt Lake City, April 2000.
"Reminiscences of a Dancing Man"
First delivered on the speakers program of the New Mexico Endowment for the Humanities, Albuquerque, July 2003.
"Lectures Tailored To Special Occasions"

Fees
Mr. Evans' primary desire is to share his work. He is willing to negotiate fees to meet the budgetary realities of a sponsoring organization. Generally his fee is $600 to $750 per day plus travel, hotel and per diem. A royalty contract can be negotiated for choreographic works.
Contact Mr. Evans personally at:

Bill Evans Dance
2 Rosebank Drive
Providence, RI 02908
401-383-0768 (home & office)
505.280.6250 (mobile phone) 
billevansdance@hotmail.com

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Master classes and workshops can include:

> Evans Modern Dance Technique and Repertory
 
> Rhythm Tap Dance Technique and Repertory

> Bartenieff Fundamentals/Developmental Movement Patterns
 
> Laban Movement Analysis

> Dance Pedagogy

> Laban-Based Improvisation and Composition
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